To educate the public through talks and workshops of the inter-media/ interrelationship of different visual art-forms: live action and documentary art; social media and space-oriented art, body-derived performance and installation, film-video, new media, photography; architecture idea, sound art and experimental theatre... Collaboration with Hong Kong Society and Education In Art, Education University of Hong Kong and other educational bodies ensures that art is a medium or knowledge transferable to the next or future generation.

2) HERITAGE EDUCATION:

To bring the public and artists’ awareness of the some century-old heritage buildings to the festival: 1) vA! or Hong Kong Visual Arts Centre (The former Cassels Block), 2) CDAV Cattle Depot Artists Village (The former Cattle Depot), 3) Oi! or Oil Street Art Space (The former Clubhouse of the Royal Hong Kong Yacht Club), 4) JCCAC Creative Arts Centre (The former Shek Kip Mei Factory Building).

3) COMMUNITY INVOLVEMENT/ EDUCATION: To facilitate the public, students or co-participants’ involvement in the arts through interactive media, open-formed installation and participative performance. The Festival brings high art to grass-root level.

4) CROSS/ CULTURAL EDUCATION: To create a unique opportunity in Hong Kong for young, mid-career Hong Kong and international artists to share invaluable experience and vision through collaborative performance, installation and lectured or interactive talk/ workshop. The Festival is unique in the sense that it grooms vision of crossover, sharing, support and collaboration beyond particular discipline of visual art. A global vision is an integral part of Hong Kong’s future development for young people.

MO〔VE〕MENT CURATORIAL VISION︳ CROSSING FOR FREEDOM/ OUT OF BODY/ OUT OF PLACE/ OUT OF TIME

The infinite border of art is counter-definitive and ideology is not a stereotype. The FESTIVAL celebrates festive idea and visual language that forges the nomadic borders (Deleuzes) and blurs the definite borders between visual forms, categories, stereotypes or preconceived notions. It liberates the restraints of visual language and its classical repertoire. It creates conceptual interface, networks, plug, or whatever for forward-looking actions, or forges retreated spaces for contemplation or introspection of the otherness. It imagines and re-imagines the new physical-psychological, visual-conceptual, structural-spatial, fractal-integrative… boundary, thinks and re-thinks the urban-rural, geo-political, infra︳inter-structural, socio-cultural, virtual-mediated, physical-metaphysical… confinement in the trans-cultural, cross-territory contexts, and covering and uncovering refreshing perspectives︳structures of thought-form and visionary-experiment connecting the heterogeneity of visual and hybrid media… The FESTIVAL 2017 further incarnates, perpetuates, explores and develops the long-term conversation being built upon the last FESTIVAL which focused on the very idea of ‘geo-political border’ and on ‘sub-themes’ revolving around nationality, identity, detachment, dislocation, body criticism, urban crisis, gender, imagery and media, etc. The Festival manifests each participant’s imagined border and perceived geography, opening up further experimental process and projects for today’s debate.

The discourse of FESTIVAL is open-ended and it revolves around the idea of dialogism from which new realms/ indefinite forms naturally branch out. While art is the basis of all nation/ city/ community identity, it is a constantly mutating construct. The FESTIVAL will present a matrix that hinges on a metaphor for such mutation and interweaves model-forms of visual art and their emerging and deformative rheology, transient expression and extended media. The FESTIVAL assists co-participants to create ‘Sedentary orders’ and ‘nomadic’ spaces (Deleuze, Guattari and Lefebvre) in which they perceive and make spatial expressions different. The more they engage in the matrix, the more are revealed (Felipe Fernandez-Armesto). The more they perceptualize engaged experience, the more perspectives are shifted and re-invented. The FESTIVAL, in this context, brings the complex and indefinite relationship between body movements, visual images (objects/ entities…), political attitudes, tangible spaces (sites/ landscapes/ buildings…) and intangible spaces (histories/ traditions/ stories/ memories/ meanings constructed…) to trans-media discussion. The public can be interacting with the tension of asserting adherence (self-assertion) or communicating difference, addressing to the dynamic of cultural homogeneity or the heterogeneity of resistance.

The FESTIVAL is neither an anti-FESTIVAL project, nor a one-off event to celebrate visual ideas which defy prolonged renegotiation of our urban existence on its own accord. The FESTIVAL questions the very notion of “FESTIVAL” which is conventionally viewed as an independent or time-based feast for spectacular consumption. To serious artists and co-participants of the FESTIVAL, visual objects or performances being displayed in the public space should be part of the discursive contexts; and their meanings should be intertwined, mutated or transformed in a globally informative, technologised age. Since art is a mutant product embracing visual experimentation and impact, the FESTIVAL reveals the creative processes of art in fluid motion instead of leaving visual objects behind simply for time-based anatomic exhibition. While some objects may exist in “MOMENTARY” timeframe, the FESTIVAL system responds to our mutating living condition and steers “ON-GOING CONVERSATION” into potential “MOVEMENTS OF CULTURE” for viewpoint-sharers, co-participants, audience and city outsiders.

The FESTIVAL 2017 questions, twists and manipulates the meanings of MOMENT and MOVEMENT. While the FESTIVAL may create seminal/ visual objects of curiosity, complexity and ideas for speculation, it is not simply a moment of ‘art attack’. The second praxis of the FESTIVAL 2017 embraces platforms/ methodologies of pedagogy for public mediation and it forges co-extensive spaces and initiatives for such co-participants as artists, educators, school-cum-public learners to develop self, interactive or constructive learning. The FESTIVAL 2017 focuses on “MO(VE)MENT” and it accredits our daily gesture, attitude, act of identity, self/ co-existence, difference, intervention, detachment, escapism, nomadism. Every moment or movement in our daily life, or resistance to localization, globalization, or its hybrid mix (glocalism) is celebrated. The FESTIVAL makes every participatory moment count and makes every momentary memory further-lingering. Together the artists explore the extension of art form and kinaesthetic awareness, investigating the intelligence of visual and body form, and their intervention in space. The image/ imagined/ imaginary of each project restructures the relationship between the MOMENT of intervention and MOVEMENT bearing enduring thought-practice. Every frozen, visualized or performative moment embraces its intrinsic and intuitive value and the FESTIVAL brings this value further to public understanding or historical impact. “MO〔VE〕MENT” not only presents images or attitudes existing in “the current moment of space-time”, it supports projects with thought-discussion in “the (art, culture, urban, …) movement of the past or future” as well. The dialogical platform is not simply intending to renew a page in the ontology of history or globalism, nor spearheading geo-political culture towards a movement encompassing collateral event at the expense of discourse; rather, it emerges from a speculation with OUR TIME and a dialogue with history IN THE EVERYDAY.

The forum brings the discourse of the crossing-border phenomenon to the centre of discussion, focusing on artworks or their branching-out ideas which narrate their connection and possibilities with other artworks in enacting or refreshing heritage and urban spaces, be they banal, unused, pop-up, or alternative. The forum is a new glocal mediated and/ or body-derived platform where the rich heterogeneity of cultural production is experienced as imaginative metaphor non-definitive. The festival forum aims at assisting the co-participants to explore ways on how the conventional demarcation of space-time, global-local strategy can be transgressed, and how the local praxes can be positively assimilated to world-view experiments.

Tragectories of Platform:

1. The Phenomena of Population Migration, Border Issue, Aesthetic and the broader